For the past three decades, Kottke has been indefatigable in his pursuit of a unique musical vision that has placed him among the foremost acoustic guitar stylists of our time ...or any other, for that matter.
      Kottke's ability to embrace folk idioms and pop melodies as readily as he assimilates jazz and classical influences makes him unique among guitar virtuosi. For all its technical brilliance, wicked syncopation and harmonic sophistication, Kottke's music is eminently accessible. At heart he's a populist. This has been abundantly clear ever since the guitarist's 1969 debut.
      The title of Leo Kottke's new album, Try and Stop Me, encapsulates the spirit of the man himself – profoundly original... perhaps a little cantankerous...a deep talking Midwestern raconteur whose quick wit is matched by his astounding virtuosity on the 6 and 12 string guitars. Leo's new album is the most improvisational record the legendary guitarist has ever recorded. Usually a meticulous pre-planner, Kottke threw all preconceived notions to the wind when he entered Studio M near his home in Minneapolis. "Over time, the importance of improvisation for me has increased," he says.
      Over the years, Kottke has worked in the studio and shared concert stages with everyone from Lyle Lovett, John Fahey, T-Bone Burnett and Rickie Lee Jones, to Paco de Lucia, Pepe Romero, John Williams, John McLaughlin and Joe Pass.
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